TY - BOOK ID - 138869464 TI - Developments in the Japanese Documentary Mode AU - Centeno, Marcos AU - Raine, Michael PY - 2021 PB - Basel, Switzerland MDPI - Multidisciplinary Digital Publishing Institute DB - UniCat KW - ethnofiction KW - Japan KW - documentary KW - non-fiction KW - dramatization KW - Minamata disease KW - Tsuchimoto Noriaki KW - W. Eugene Smith KW - Ishimure Michiko KW - ethics of representation KW - The Children of Minamata are Living KW - Minamata: The Victims and Their World KW - authorship KW - documentary film KW - hibakusha KW - Japanese cinema KW - Mizoguchi Kenji KW - semi-documentary KW - Shindō Kaneto KW - film theory KW - documentary film theory KW - postwar Japan KW - post-1945 Japan KW - Hani Susumu KW - cinéma verité KW - direct cinema KW - observational documentary KW - cinematography KW - the culture film KW - Imamura Shōhei KW - History of Post-War Japan as Told by a Bar Hostess KW - fiction and documentary KW - history KW - memory KW - experience KW - magic lantern KW - popular history movement KW - avant-garde documentary KW - new Left KW - Teshigahara Hiroshi KW - Adachi Masao KW - subjectivity KW - landscapes KW - folklore studies KW - documentary photography KW - n/a KW - Shindō Kaneto KW - cinéma verité KW - Imamura Shōhei UR - https://www.unicat.be/uniCat?func=search&query=sysid:138869464 AB - Writing on Japanese cinema has prioritized aesthetic and cultural difference, and obscured Japan's contribution to the representation of real life in cinema and related forms. Donald Richie, who was instrumental in introducing Japanese cinema to the West, even claimed that Japan did not have a true documentary tradition due to the apparent preference of Japanese audiences for stylisation over realism, a preference that originated from its theatrical tradition. However, a closer look at the history of Japanese documentary and feature film production reveals an emphasis on actuality and everyday life as a major part of Japanese film culture. That 'documentary mode' – crossing genre and medium like Peter Brooks' 'melodramatic mode' rather than limited to styles of documentary filmmaking alone – identifies rhetoric of authenticity in cinema and related media, even as that rhetoric was sometimes put in service to political and economic ends. The articles in this Special Issue, ‘Developments in the Japanese Documentary Mode’, trace important changes in documentary film schools and movements from the 1930s onwards, sometimes in relation to other media, and the efforts of some post-war filmmakers to adapt the styles and ethical commitments that underpin documentary's "impression of authenticity" to their representation of fictional worlds ER -